No. 3 (2024): Sloboda Art Studies

Статті

• CHAMBER-ENSEMBLE ACTIVITIES OF UKRAINIAN ARTISTS IN NORTHERN CHINA IN THE FIRST HALF OF THE 20TH CENTURY

  Iryna Antonyuk

  7-11

  • PDF (Українська)

• CHARACTERISTICS OF DUET POLYPHONY IN TEXURE K. DEBUSSY`S PIANO PRELUDES

  Lu An

  12-18

  • PDF (Українська)

• THE PERSONALITY OF EUSEVII MANDYCHEVSKY IN THE PERSPECTIVE OF THE HISTORY AND MUSICAL CULTURE OF BUKOVINA

  Olena Afonina, Olga Zavialova

  19-24

  • PDF (Українська)

• MUSICAL SERVICE IN THE PROTESTANT RITE: HISTORICAL ORIGINS AND MODERN CHALLENGES

  Liliya Bogachova-Strletsova

  25-30

  • PDF (Українська)

• WORSHIP MUSIC AS AN ARTISTIC AND SOCIOLAGICAL PHENOMENON

  Tetiana Bulakh

  31-34

  • PDF (Українська)

• THE UNIVERSALITY OF THE ARTIST IN THE MUSICAL CULTURE OF CHINA IN THE 20TH AND EARLY 21ST CENTURIES

  Jianing Wang

  35-39

  • PDF (Українська)

• THE CREATIVITY OF SAMPO HAAPAMÄKI IN THE CONTEXT OF THE DEVELOPMENT OF THE GENRE OF THE CONCERT FOR THE QUARTER-TONE ACCORDION WITH THE ORCHESTRA

  Oleksandr Vasylenko

  40-46

  • PDF (Українська)

• UKRAINIAN VOCAL AND POP REPERTOIRE IN THE “INTERIOR” OF POSTMODERNITY

  Khrystyna Halela, Liudmyla Shchur

  47-51

  • PDF (Українська)

• SPECIFICITY OF THE ORGANIZATION OF PIANIST MOVEMENTS IN THE PROCESS OF PLAYING THE PIANO

  Alla Hrinchenko

  52-56

  • PDF (Українська)

• HORN: HISTORY, THEORY, PERFORMANCE PRACTICE

  Victoria Hura, Olena Ustymenko-Kosorich, Oleksandr Hubskyi

  57-61

  • PDF (Українська)

• PREPARED INSTRUMENTS: FLUTE & PIANO

  Yuliia Danylchenko, Kateryna Skakun

  62-66

  • PDF (Українська)

• PECULIARITIES OF THE CONDUCTOR'S ORGANIZATION OF THE REHEARSAL PROCESS WITH A PROFESSIONAL, STUDENT, OR CHILDREN'S ENSEMBLE

  Yuliia Danylchenko

  67-71

  • PDF (Українська)

• HISTORICAL AND CULTURAL ASPECTS OF THE EVOLUTION OF TWO-PIANO MUSIC IN CHINA

  Ding Zhuxiang

  72-75

  • PDF

• THE CONCEPTUAL SPHERE OF UKRAINIAN ACADEMIC SONG IN THE CONTEXT OF METHODOLOGICAL BASES OF ANALYSIS OF MUSICAL AND POETIC CORRELATIONS

  Tetyana Zadorozna

  76-81

  • PDF (Українська)

• FORMATION AND IMPROVEMENT OF FINGERING THINKING IN GUITARISTS DURING THE PROFESSIONAL TRAINING OF PERFORMING INSTRUMENTALISTS

  Anatolii Kovalenko

  82-86

  • PDF (Українська)

• GENRE AND STYLE ASPECTS SONATAS FOR TROMBONE AND PIANO BY J. CASTARED

  Dmytro Kravchuk

  87-90

  • PDF (Українська)

• MENTAL INTENTIONS OF UKRAINIAN MODERN AND AVANT-GARDE AND THEIR IMPLEMENTATION IN THE MUSICAL WORK OF GALICIAN COMPOSERS OF THE THIRD HALF OF THE XX CENTURY

  Nazar Lazechko

  91-95

  • PDF (Українська)

• THE PHENOMENON OF THE FOLK INSTRUMENTAL ORCHESTRA IN THE CONTEMPORARY NATIONAL MUSICOLOGICAL DISCOURSE

  Olena Liermontova

  96-102

  • PDF (Українська)

• THE TIMBRAL-SOUND IMAGE OF THE SOLOIST’S PART IN ОDESA COMPOSERS’ TRUMPET CONCERT

  Zhe Luo

  103-108

  • PDF (Українська)

• INTERPRETATION AND PERFORMANCE SKILLS AS A PROFESSIONAL ACQUISITION OF A MUSICIAN-PIANIST

  Anzhelina Mamykina

  109-113

  • PDF (Українська)

• SYNTHESIS OF EASTERN AND WESTERN CULTURAL TRADITIONS IN THE MUSICAL ACTIVITY OF SIQIAN LI

  Zhou Ni

  114-119

  • PDF (Українська)

• INTERPRETIVE CONCEPTS OF SECOND TRUMPET CONCERTO BY M. BERDYEV

  Taras Parashchuk

  120-123

  • PDF (Українська)

• REVIEW OF CHORAL CREATIVITY PROTESTANT CHURCHES OF THE BAPTIST DENOMINATION OF KYIV REGION BOUNDARIES OF THE XX – XXI CENTURIES

  Olga Hryhorivna Pryvalova

  124-128

  • PDF

• CULTURE OF DENMARK IN THE FIRST HALF OF THE 19TH CENTURY

  Oleksandr Rudenko

  129-133

  • PDF (Українська)

• STRUCTURAL AND SEMANTIC INVARIANT OF THE MUSICAL TEXT AS A CULTURAL TEXT: A PRACTICAL ASPECT

  Oleh Smoliak, Bohdan Vodianyi, Iryna Romaniuk

  134-140

  • PDF (Українська)

• LADOTONAL AND COLORISTIC FUNCTIONS OF THE HARMONY OF THE ORCHESTRAL SUITE NO. 2 FROM THE BALLET “DAPHNIS AND CHLOE” BY MAURICE RAVEL

  Tetyana Filatova, Veronika Zinchenko-Hotsuliak

  141-146

  • PDF (Українська)

• VOCAL MELISMATICS IN DISCOURSE OF CONTEMPORARY POPULAR MUSIC

  Nataliia Folomieieva

  147-151

  • PDF (Українська)

• DUETNESS AS A PRINCIPLE OF ENSEMBLE WRITING IN THE PIANO TRIO NO. 1 OR. 7 AND STRING QUARTET NO. 2 OR. 4 BY B. LYATOSHINSKY

  Cui Jingge

  152-156

  • PDF (Українська)

• VOCAL CHAMBER MUSIC OF VIKTOR KOSENKO: INTERPRETATIONAL ASPECTS

  Cui Jing

  157-162

  • PDF (Українська)

• COMPOSING AND PERFORMING CREATIVITY OF THE CHINESE SINGER SA DING DING IN THE CONTEXT OF MODERN MUSICOLOGY

  Zhang Jielin

  163-166

  • PDF (Українська)

• EARLY CLASSICAL TRUMPET CONCERT WITH ORCHESTRA IN THE MUSICAL SPACE OF GERMANY

  Zhang Jinqiu, Oleksandr Stakhevych

  167-172

  • PDF (Українська)

• COMPOSING AND PERFORMING CREATIVITY OF THE CHINESE SINGER DAO LAN IN THE CONTEXT OF CULTURAL TRADITIONS

  Yuan Anni

  173-177

  • PDF (Українська)

• PIANO TEXTURE IN THE UKRAINIAN MUSICOLOGICAL DISCOURSE

  Yang Jing

  178-183

  • PDF (Українська)

• THE EMBODIMENT OF THE IDEA OF THE IDEA OF CONTEMPLATION AS A MANIFESTATION OF ORIENTAL THINKING IN THE WORKS OF EUROPEAN COMPOSERS (ON THE EXAMPLE, THE ANALYSIS OF “PAGODA” K. DEBUSSY)

  Yao Bing

  184-187

  • PDF (Українська)